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Bamako Sounds tells the story of an African city, its people, their values, and their music. Centered on the music and musicians of Bamako, Mali’s booming capital city, this book reveals a community of artists whose lives and works evince a complex world shaped by urban culture, postcolonialism, musical expression, religious identity, and intellectual property.Drawing on years of ethnographic research with classically trained players of the kora (a twenty-one-string West African harp) as well as more contemporary, hip-hop influenced musicians and producers, Ryan Thomas Skinner analyzes how Bamako artists balance social imperatives with personal interests and global imaginations. Whether performed live on stage, broadcast on the radio, or shared over the Internet, music is a privileged mode of expression that suffuses Bamako’s urban soundscape. It animates professional projects, communicates cultural values, pronounces public piety, resounds in the marketplace, and quite literally performs the nation. Music, the artists who make it, and the audiences who interpret it thus represent a crucial means of articulating and disseminating the ethics and aesthetics of a varied and vital Afropolitanism, in Bamako and beyond.

Over the last thirty years, the study of medieval rural settlements has been completely transformed. The origins and expansion of settlements are now as much the focus of interest as their decline. This interpretation evinces a much fuller appreciation of the role played by the lords of the manor and other individuals in the history of settlement. These very considerable changes in interpretation are fully reflected in this wide-ranging collection of essays, written by a distinguished team of archaeologists, historians and historical geographers. Its authors use documents, aerial photography, fieldwork, excavation, and the analysis of botanical remains to reconstruct the medieval landscape. The first part of the book examines the history and geography of settlements; the documentary evidence for early medieval estate and settlement patterns; initiative and authority in settlement change; the growth and decline of medieval rural settlements, and the significance of the Wolds in English settlement history. Part two combines regional fieldwork studies with more detailed case studies. These include studies of deserted settlements in the West of England; deserted medieval settlements in the South-West Midlands; the archaeology of medieval rural settlement in East Anglia; medieval settlement remains and historical conservation, and field systems and township structures. The final section is concerned with excavation, and again combines regional with more detailed case studies. It contains chapters on the excavation of dispersed settlement in medieval Britain; peasant houses, farmsteads and villages in North-East England, and environmental archaeology. The book closes with a consideration of the relationship between archaeological and historical method, and its application to the study of rural settlement.

The history of the mapping of the Holy Land epitomizes the history of cartography itself. Situated at the crossroads of Africa, Asia, and Europe, the Holy Land has been the focus of intense interest for countless generations; under its various names--Canaan, The Promised Land, Palestine, or Terra Sancta--it evinces the longest unbroken sequence of mapping in the world.Two principal cartographic traditions dominate this fascinating history: the religious one, based primarily on the Bible and its exegeses; and the classical tradition, represented by Ptolemy, which laid the foundations of modern cartography.The present volume brings together for the first time an historical panorama of these maps: from a 6th-century mosaic from Jordan; through early Hebrew, Christian, and Islamic maps; to maps of the recent past. We see the 13th-century Hereford World Map, with Jerusalem at its center, and the 14th-century Catalan Atlas, drawn on vellum. Anonymous Czech and Italian maps of the 16th century are followed by German, Netherlandish, British, and French maps from the Age of Enlightenment. We arrive ultimately at cartographic representations of the 19th and 20th centuries, culminating in the advent of high-tech satellite imaging. These graphic representations manifest the geographical and political changes that have marked this region over the centuries, suggesting at one time physical realities, and at another persistence of imagination in its creative shaping of the world. Evidenced throughout, Holy Land in Maps is a testament to the painstaking craftsmanship and often delicate beauty that is a hallmark of the mapmaker's discipline at its best.

Provides an intimate look at the lives of pioneer women, based on journals, letters, and oral histories that evince the actual experience of pioneer life, from crossing the continent and the hardships and hazards of pioneer life to the struggle for women's rights.

The stories in this award-winning collection all bear some relationship to history, personal or communal. Several are based on iconic American figures, from William Miller to Margaret Hamilton to Ray Charles. Others evince a feminist impulse to redeem from history those women whose lives would otherwise go unremarked, such as Juana la Loca and Bridget Cleary. Still others explore the ways in which language constructs and deconstructs character―Thomas Power James engaged in completing Charles Dickens's unfinished novel, The Mystery of Edwin Drood; Branwell Brönte struggling to distinguish between personal history and his family's texts; and Gérard de Nerval warring against his incipient madness. All of the stories, whether realistic or experimental, witty or solemn, acknowledge how the past continually informs the present.

Includes memories and literary passages that evince the spirit of Tuskegee and complement more than two hundred traditional recipes with pictorial accounts, personal vignettes, and poetry.

This time the wicked wizards are draining power from the Enchanted Forest. This riotous sequel to Dealing with Dragons evinces the same wacky wit and skewed fairy-tale elements with the addition of a touch of romance. Once again, Wrede offers a story that will delight fantasy fans, particularly those who have relished Cimorene s adventures in the first book of the Enchanted Forest Chronicles. --Booklist

Excerpt from Wild Southern Scenes: A Tale of Disunion! And Border War!To say nothing of the honor of preparing a dinner for the President's daughter, it was very natural for Maud to evince some impatience to have it served precisely at the appointed time. Her son Dick, the coachman and gardener, had been despatched to the Capitol at the usual hour - and now it was full twenty minutes past the ordinary time of serving the first course!The bad boy! She exclaimed, vainly peering through the iron railing, and evidently disposed to vent her wrath on her innocent son. He's got a watch, she continued.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Heart of GlassDavid Reed’s innovative oeuvre and self-definition as a painter took place in the ground-breaking context of the Abstract Expression­ism, Pop Art and Minimalism. Reed’s significance, which to this day has not been sufficiently ­appreciated, resides in the fact that his work evinces a simultaneous sensory opulence and analy­tical clarity, which in turn has to perform a self-transformation in paint­ing in order to arrive at adequate results under the auspices and conditions of a new digital reality. In so doing, Reed’s paint­ing draws upon a basic experience of a reality which is only tangible through the medium of painting. Surrogate images have always ­lurked behind the supposedly ­authentic experience, the ap­parently real body, for within Reed’s cosmos, the surrogate takes the place of the authentic because, in a world governed by images, the unique experience of the real takes place in the modality of the repetition of preformed images. The fitting experience here dates back to the late 1960s when Reed was engaged in classical plein air painting in the deserts of Arizona and New Mexico. After having spent the morning painting, he went in search of shade in a cave in the ­vicinity of Monument ­Valley and drank from a well there that seem­ed strangely famil­iar to him. He then found his way into a small ­canyon that was likewise familiar. Only years later did he realise the reason for this peculiar familiarity which this completely unknown locality held for him: he had once seen the cave in the John Ford movie »The Searchers« (1956). The first illustrated catalogue of his paintings eagerly await­ed by devotees of abstract art, ­depicts them for the first time in a so-­called flatbook in an ap­propriate size without the aid of unap­pealing hinged flap.Exhibition: Kunstmuseum Bonn, 28/6–7/10/2012

This time the wicked wizards are draining power from the Enchanted Forest. “This riotous sequel to Dealing with Dragons evinces the same wacky wit and skewed fairy-tale elements with the addition of a touch of romance. Once again, Wrede offers a story that will delight fantasy fans, particularly those who have relished Cimorene’s adventures in the first book of the Enchanted Forest Chronicles.”--Booklist

James Leo Garrett, Jr. has been called "the last of the gentlemen theologians" and "the dean of Southern Baptist theologians." In The Collected Writings of James Leo Garrett, Jr., 1950-2015, the reader will find a truly dazzling collection of works that clearly evince the meticulous scholarship, the even-handed treatment, the biblical fidelity, the wide historical breadth, and the honest sincerity that have made the work and person of James Leo Garrett, Jr. so esteemed and revered among so many. The first two volumes of the series explore Dr. Garrett's writings on the experience, history, and lives of Baptist Christians, and this inaugural volume specifically considers Baptists, Baptist views of the Bible, and Anabaptists. Spanning sixty-five years and touching on topics from Baptist history, theology, ecclesiology, church history and biography, religious liberty, Roman Catholicism, and the Christian life, The Collected Writings of James Leo Garrett, Jr., 1950-2015 will inform and inspire readers regardless of their religious or denominational affiliations.

This book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches. Tough Enough traces the careers of these women and their challenges to the pre-eminence of empathy as the ethical posture from which to examine pain. Their writing and art reveal an adamant belief that the hurts of the world must be treated concretely, directly, and realistically, without recourse to either melodrama or callousness. As Deborah Nelson shows, this stance offers an important counter-tradition to the familiar postwar poles of emotional expressivity on the one hand and cool irony on the other. Ultimately, in its insistence on facing reality without consolation or compensation, this austere “school of the unsentimental” offers new ways to approach suffering in both its spectacular forms and all of its ordinariness.

Fine Design has always been a hallmark of Japanese arts and crafts. The color illustrations in this book reveal at a glance that almost any Japanese object - whether a lacquer box lavishly decorated with gold and silver or a crude ceramic jug - evinces a special genius for design and composition on the part of the artist or craftsman. This book surveys the origins and development of traditional Japanese decorative motifs from the neolithic period to the present day. The author selects motifs representative of each era and discusses their origins, variations in time, and applications to various art forms. This study of Japanese design motifs opens a window onto the society and aesthetics of a superbly tasteful people.

"Low-Lands", written while the Pynchon was an undergraduate at Cornell University and first published in "New World Writing" 16 (1960), is an explicit parody of T S Eliot's "The Waste Land". But further, "Low-Lands" evinces another influence: the writings of Cervantes, in particular "Don Quixote de la Mancha". Pynchon studied with Vladimir Nabokov at Cornell. During the 2nd semester of the academic year 1951-1952, Nabokov was visiting at Harvard where he delivered his famous Don Quixote lectures. Although no evidence explicitly documents that Nabokov gave the Cervantes lectures later at Cornell, the Russian novelist is likely to at least have included references to the Spanish masterpiece in his Cornell courses. In any case, Pynchon's writings in general reveal his voracious reading, and, in particular his interest in Hispanic literature. The mature Pynchon, looking back at "Low-Lands" wrote, "In a way this is more of a character sketch than a story... Oddly enough, I had not intended this to be Dennis's story at all -he was supposed to have been a straight man for Pig Bodine.". Dennis Flange, Pynchon's protagonist, is an unhappily married former "competent [naval] communications officer" who is quite unceremoniously thrown out of his house by his practical wife Cindy because of his poor choice of friends and lack of interest in his job. Dennis then stays overnight at the town dump with some of his unsavory friends; whereupon, he meets the beautiful gypsy midget Nerissa, with whom he decides to stay "for a while, at least". As is the case with Don Quixote, the character of Flange dominates the loose plot; as Pynchon comments, "his fantasies become increasingly vivid, [and] that's about all that happens". Yet "Low-Lands" clearly shares with Cervantes' novella, "La gitanilla", a pronounced fairy tale atmosphere.

James Leo Garrett, Jr. has been called "the last of the gentlemen theologians" and "the dean of Southern Baptist theologians." In The Collected Writings of James Leo Garrett, Jr., 1950-2015, the reader will find a truly dazzling collection of works that clearly evince the meticulous scholarship, the even-handed treatment, the biblical fidelity, the wide historical breadth, and the honest sincerity that have made the work and person of James Leo Garrett, Jr. so esteemed and revered among so many. The first two volumes of the series explore Dr. Garrett's writings on the experience, history, and lives of Baptist Christians, and this inaugural volume specifically considers Baptists, Baptist views of the Bible, and Anabaptists. Spanning sixty-five years and touching on topics from Baptist history, theology, ecclesiology, church history and biography, religious liberty, Roman Catholicism, and the Christian life, The Collected Writings of James Leo Garrett, Jr., 1950-2015 will inform and inspire readers regardless of their religious or denominational affiliations.

From stories about Los Angeles freeways to slave narratives to science fiction, environmental literature encompasses more than nature writing. The study of environmental narrative has flourished since the MLA published Teaching Environmental Literature in 1985. Today, writers evince a self-consciousness about writing in the genre, teachers have incorporated field study into courses, technology has opened up classroom possibilities, and institutions have developed to support study of this vital body of writing. The challenge for instructors is to identify core texts while maintaining the field's dynamic, open qualities.The essays in this volume focus on North American environmental writing, presenting teachers with background on environmental justice issues, ecocriticism, and ecofeminism. Contributors consider the various disciplines that have shaped the field, including African American, American Indian, Canadian, and Chicana/o literature. The interdisciplinary approaches recommended treat the theme of predators in literature, ecology and ethics, conservation, and film. A focus on place-based literature explores how students can physically engage with the environment as they study literature. The volume closes with an annotated resource guide organized by subject matter.

Calling themselves critics rather than art historians, the Huberts evince an astonishingly vast familiarity with the medium of artists' books, which they survey in the present volume. The works are discussed in groups according to theme and/or format and include works by an international group of artists. In addition to frequent b&w illustrations, a group of color plates are included. Distributed by Distributed Art Publishers. Annotation c. Book News, Inc., Portland, OR (booknews.com)

This book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches.Tough Enough traces the careers of these women and their challenges to the pre-eminence of empathy as the ethical posture from which to examine pain. Their writing and art reveal an adamant belief that the hurts of the world must be treated concretely, directly, and realistically, without recourse to either melodrama or callousness. As Deborah Nelson shows, this stance offers an important counter-tradition to the familiar postwar poles of emotional expressivity on the one hand and cool irony on the other. Ultimately, in its insistence on facing reality without consolation or compensation, this austere “school of the unsentimental” offers new ways to approach suffering in both its spectacular forms and all of its ordinariness.

The global dash of the intrepid Phileas Fogg is accompanied by lavish illustrations that depict remarkable period scenes that evince for younger readers such cultures as Victorian England and the American Wild West.

Collects thirteen slave lullabies created from the African-American experience that evince messages of hope and empowerment, paired with quilt collage illustrations and a CD recording of the lullabies. 25,000 first printing.